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20121205
20121213
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, brazil, the third largest city in the world. in this anatomy of a mega-city, we'll explore: the urban geography of immigration and etic diversity, squatter settlements and self-construction. sao pao, brazil. with its crowded boulevards and massive skyscrapers, it seemswealthy as any city in the world. sao paulo is unique among latin american cities. in the early part ofhe, when places like rio de janeiro copied traditional european styles of construction, sao paulo was following a distinctly american model of urbanism. imitating the forms of chicago and new york, sao paulo built upward, growing vertically very quickly. buin a huge ring around the centrality slies a very different, here, stretching foriles,uickly. is a city of self-built structures in various stages of completion. they line hillsides and rocky streets where some of sao paulo's newest immigrants struggo ild mes om brick and cen where some of sao paulo's alaide and her family came to sao paulo from northeastern brazil. ( alaide speaking portuguese ) translator: from there my father came first to work. came i as a maid,
's three forms vertebrae was set in front of the city hall. completed in 1978, it was his last major public work. then in his 80s, henry moore worked on as long as his health allowed him to. he died in 1986 and was buried in the much hadham parish churchyard. some critics still wonder if moore's remarkable success mighhaept tin his n newer directions. others disagree. oh, i thinore's success was always good for hi it may be bad for his reputation, but it wasn't bad for him, his ego, and the ego that was needed to make his work. success was needed in order to fuel the possibilities of a work that appeals to every man. (narrator) henry moore's legacy is still being debated, but what he achieved is beyond controversy. the early works combine a poetic gift for carving and a respect for craftsmanship that drew inspiration from a world wider and older than europe. his fascination with the body and the play of internal and external forms inspired radical abstractions, part dreamscape, part landscape. his later works, more ambitious in size, are essays in the old tradition of making art for public
Search Results 0 to 1 of about 2